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Journal articles on the topic 'Film and theatre code'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

Anderson, Natasha. "Narrative and Number in Busby Berkeley’s Footlight Parade." MUSIC.OLOGY.ECA 1 (September 11, 2020): 40–59. http://dx.doi.org/10.2218/music.2020.5697.

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The backstage film musical was a successful genre of the brief ‘Pre-Code’ era of American film history (1929-1934), in which audiences witnessed the inner workings of a theatre studio and watched the creation and performance of a musical production unfold. This essay focusses on one of these film musicals, Footlight Parade, and examines its key musical numbers: ‘Honeymoon Hotel’, ‘By a Waterfall’ and ‘Shanghai Lil’. Using these examples, the article analyses the relationship between musical number and film narrative, while relating the film to wider issues surrounding musicals in the ‘Pre-Code’ era and beyond.

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2

Ivanshina, E. A., and V. V. Zyatkova. "ABOUT THE MEANING OF THEATRE “THE MASTER AND MARGARITA”." Bulletin of Udmurt University. Series History and Philology 30, no. 2 (May 7, 2020): 303–10. http://dx.doi.org/10.35634/2412-9534-2020-30-2-303-310.

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The article deals with the semantic field of the theater in "The master and Margarita", which extends to all novel chronotopes and can be structured as a two-level one. Considering different cases of theatricalization of space and different signs of theatricality in the novel, the authors correlate the real theater (theatre as a historical reality ) and the literary theater (the art of acting ) and actualize the confrontation of literature and historical reality in "The Master and Margarita". The text of the novel is considered as a model of counterculture, from the standpoint of which the author chooses those literary codes from which his own model of theatrical behavior is built. At the same time, special attention is paid to the actualization of the metaphor "theater - court" and the semantics of exposure, and the novel itself is an act of vengeance of the author and the implementation of his inner freedom. As an example of such an artistic concept of the relationship between art and life, the film "Once upon a time... in Hollywood" by Tarantino is considered.

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3

O'Rourke, Chris. "Exploiting Ambiguity: Murder! and the Meanings of Cross-Dressing in Interwar British Cinema." Journal of British Cinema and Television 17, no. 3 (July 2020): 289–312. http://dx.doi.org/10.3366/jbctv.2020.0530.

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The crime film Murder! (1930), directed by Alfred Hitchcock for British International Pictures and based on the novel Enter Sir John (1929) by Clemence Dane and Helen Simpson, has long been cited in debates about the treatment of queer sexuality in Hitchcock's films. Central to these debates is the character of Handel Fane and the depiction of his cross-dressed appearances as a theatre and circus performer, which many critics have understood as a coded reference to homosexuality. This article explores such critical interpretations by situating Murder! more firmly in its historical context. In particular, it examines Fane's cross-dressed performances in relation to other cultural representations of men's cross-dressing in interwar Britain. These include examples from other British and American films, stories in the popular press and the publicity surrounding the aerial performer and female impersonator Barbette (Vander Clyde). The article argues that Murder! reflects and exploits a broader fascination with gender ambiguity in British popular culture, and that it anticipates the more insistent vilification of queer men in the decades after the Second World War.

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Utica, G., L. Pinti, L. Guzzoni, S. Bonelli, and A. Brizzolari. "INTEGRATING LASER SCANNER AND BIM FOR CONSERVATION AND REUSE: “THE LYRIC THEATRE OF MILAN”." ISPRS Annals of Photogrammetry, Remote Sensing and Spatial Information Sciences IV-5/W1 (December 13, 2017): 77–82. http://dx.doi.org/10.5194/isprs-annals-iv-5-w1-77-2017.

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The paper underlines the importance to apply a methodology that integrates the Building Information Modeling (BIM), Work Breakdown Structure (WBS) and the Laser Scanner tool in conservation and reuse projects. As it is known, the laser scanner technology provides a survey of the building object which is more accurate rather than that carried out using traditional methodologies. Today most existing buildings present their attributes in a dispersed way, stored and collected in paper documents, in sheets of equipment information, in file folders of maintenance records. In some cases, it is difficult to find updated technical documentation and the research of reliable data can be a cost and time-consuming process. Therefore, this new survey technology, embedded with BIM systems represents a valid tool to obtain a coherent picture of the building state. The following case consists in the conservation and reuse project of Milan Lyric Theatre, started in 2013 from the collaboration between the Milan Polytechnic and the Municipality. This project first attempts to integrate these new techniques which are already professional standards in many other countries such as the US, Norway, Finland, England and so on. Concerning the methodology, the choice has been to use BIM software for the structured analysis of the project, with the aim to define a single code of communication to develop a coherent documentation according to rules in a consistent manner and in tight schedules. This process provides the definition of an effective and efficient operating method that can be applied to other projects.

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5

Smyth, J. E. "Against the Beat." Film Quarterly 67, no. 1 (2013): 7–13. http://dx.doi.org/10.1525/fq.2013.67.1.7.

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The opening sequence of Ragtime (1981) takes place in a theater during the silent film era where the protagonist, Coalhouse Walker Jr. (Howard Rollins, Jr.), accompanies a newsreel featuring the stars of American public life in the early decades of the twentieth century. While postmodern theorists and film historians have linked the content and form of textual and visual fictions with their historical counterparts, less attention has been given to musical and aural styles as historiographic interventions. And while new research in historical film studies has revealed the flirtations of mainstream feature films with postmodern critique, much of this work skirts the racially coded structures of historiography. This article explores screenwriter Michael Weller and director Milos Forman’s decision to focus on Coalhouse’s story (over novelist E. L. Doctorow’s objections) and to deploy ragtime as both African American counter-beat and explosive historical style.

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6

Sakamoto, Michael. "blind spot: Media, Memory, and Performing Resistance." Congress on Research in Dance Conference Proceedings 2015 (2015): 153–59. http://dx.doi.org/10.1017/cor.2015.24.

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This performative lecture explores artistic, social, cultural, and philosophical issues embedded in interdisciplinary dance theater artist Michael Sakamoto's latest solo work, blind spot. Combining film, video, and photography, dance, and theatrical performance, blind spot attempts to tell a story of looking without seeing, yet with sudden, ephemeral flashes of insight. Using his own history and perception-projection as a racialized, “Asian-American” body practicing butoh, an “Asian” form, Michael speaks of self-contradiction, code switching, and embracing both socialized and subjective identity. Inspired by the Buddhist conception of impermanence and ontological questions of embodied truth in media-based art forms, blind spot is rooted in the belief that every moment is an instance of not knowing, simultaneously revealing our fear and desire, making life a circuitous, nonlinear journey of mapping such “blind spots.”From Michael's artist statement on blind spot: The fear of not seeing is the same as that of not knowing. From implosive desire, we give primacy to sight at the cost of vision. Within and without language-delineated, behavioral paradigms, we alternate between embracing our passion/obsession and holding ourselves at arm's length in the third person. Our mediated image—dead to the world but with a life of its own—becomes both bulwark against and support for the tenuous, febrile cord connecting us to heredity and lineage in the ways we both speak and act.

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7

Sanders, Scott M. "Code Noir in Marivaux’s Theatre." Eighteenth-Century Fiction 32, no. 2 (December 1, 2019): 271–96. http://dx.doi.org/10.3138/ecf.32.2.271.

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8

McBride, Stephanie. "Film and Television: Operating Theatre." Circa, no. 111 (2005): 31. http://dx.doi.org/10.2307/25564262.

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9

ANSAH, KWAW. "On Ghanaian Theatre and Film." Matatu 21-22, no. 1 (April 26, 2000): 301–14. http://dx.doi.org/10.1163/18757421-90000331.

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10

Dukore, Bernard. "Film and Theatre: Some Revisionist Propositions." Modern Drama 28, no. 1 (March 1985): 171–79. http://dx.doi.org/10.3138/md.28.1.171.

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11

Betts, Mary Beth, Randolph Carter, and Robert Reed Cole. "Joseph Urban: Architecture, Theatre, Opera, Film." Design Issues 11, no. 3 (1995): 74. http://dx.doi.org/10.2307/1511777.

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12

Holmes, Katie, Timothy W. Jones, and Yorick Smaal. "Film, Television, Radio and Theatre Reviews." History Australia 11, no. 1 (January 2014): 238–44. http://dx.doi.org/10.1080/14490854.2014.11668510.

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13

Dyrenfurth, Nick, and Noah Riseman. "Film, Television, Radio and Theatre Reviews." History Australia 11, no. 2 (January 2014): 255–60. http://dx.doi.org/10.1080/14490854.2014.11668525.

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14

Corbould, Clare, and Ross Gibson. "Film, Television, Radio and Theatre Reviews." History Australia 11, no. 3 (January 2014): 224–28. http://dx.doi.org/10.1080/14490854.2014.11668542.

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15

Thomson, Alistair, Seumas Spark, Fiona Davis, and Erica Millar. "Film, Television, Radio & Theatre Reviews." History Australia 12, no. 2 (January 2015): 248–56. http://dx.doi.org/10.1080/14490854.2015.11668580.

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16

McConachie, Bruce. "Theatre and Film in Evolutionary Perspective." Theatre Symposium 19, no. 1 (2011): 129–47. http://dx.doi.org/10.1353/tsy.2011.0004.

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17

Simeon, Sandrine. "Film-Theatre as an Intermedial Occurrence of Theatre: Recycling Ionesco’sBald Soprano." Romance Studies 35, no. 4 (October 2, 2017): 248–59. http://dx.doi.org/10.1080/02639904.2017.1413852.

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18

Paavolainen, Teemu. "Poor Theatre, Rich Theatre." Nordic Theatre Studies 30, no. 1 (August 2, 2018): 144–64. http://dx.doi.org/10.7146/nts.v30i1.106927.

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The article analyzes two Finnish theatre adaptations of Fanny och Alexander, by Ingmar Bergman, and Rauta-aika, by Paavo Haavikko, premiered in 2010 and 2011 respectively. The key question is, how the two works brought the filmic originals’ wealth of material to theatrically manageable proportions, and how the themes of poverty and prosperity were developed by their scenic machineries – a question of theatricality, but also, if you will, of a sort of theatrical exchange: “golden age” to exile or decline in the story-worlds, lavish film to theatrical constraint in production. The first two sections take a specifically economic perspective on the original TV projects and their central storylines; the two final sections address how these storylines were locally woven by the revolving stage and the revolving auditorium used in the theatre productions. On various levels, a playfully “monetary” distinction of metonymy and metaphor is suggested in which metonymic contiguity stands for contextual prosperity (as experience, community, immediacy), metaphoric substitution for relative deprivation (as distance, abstraction, exchange).

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19

Vikulova, Larissa, Evgeniia Serebrennikova, Olga Vostrikova, and Liudmila Borbotko. "Communication Code as Pillar of Successful Communication in Social Cultural Institution (by Example of Theatrical Discourse)." SHS Web of Conferences 50 (2018): 01036. http://dx.doi.org/10.1051/shsconf/20185001036.

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The paper attempts to define constituting features of theatrical discourse which determine functioning of the latter in theatre communicative space. Communication code moderates the addresser-addressee interrelations thus playing a key role in the realization of theatrical discourse as a ritualized, institutional and conventional semiotic unit. The study also aims at introducing a typology of theatrical discourse participants and at defining the addressing vector direction. Communication code is estimated as a moderator of theatrical communication processes and an indicator of communication success / failure. The audience is viewed as a social addressee – an element obligatory for theatrical discourse to be externalized. The audience’s behavioral pattern is largely attributed to the existing communication code: the audience is conscious of their silent role, the verbal communication being somewhat one-way. Conversely, theatrical discourse implies reaction on behalf of the audience. The communication code significantly affects the temporal and spatial framework of theatre communication alongside the actual theatre space existence. The social cultural institution of theatre is targeted at sustaining the society moral values and forming new cognitive and ethical ones. These functions of theatre are also of primary importance. The research results in the drafted principles of the code of verbal communication applied to theatrical discourse, viz. the principle of temporal and spatial organization; the principle of muteness; the principle of prescript observation and the axiological awareness principle.

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20

Picon-Vallin, Béatrice. "Passages, Interférences, Hybridations: Le Film de théâtre." Theatre Research International 26, no. 2 (June 14, 2001): 190–98. http://dx.doi.org/10.1017/s0307883301000207.

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The cinema's developments in lighting, sound and image technology have helped the theatre, and have also allowed its aesthetics to become lighter (Strehler) as well as more complex (Langhoff). Films have originated in plays (not least Louis Malle's Vanya on 42nd Street, which has been accused of wiping away all traces of the theatre, when, in fact, this eradication was part of the staged work itself); and films have passed into plays (for example, Miracle in Milan staged by Zadek in 1993 after De Sica's film). The distinction between text and image, which defined the theatre/cinema split, is far less useful than distinctions between different types of images. The flux of audiovisual, informational and advertising images today has put the relationship between image and truth, as conceived by Bazin in the 1950s, into deep crisis. The theatre film transfers the dialogue between the stage and the audience into a dialogue between theatre and cinema, and is a meeting, rather than a fusion, between these two arts.

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21

Ryan, James Emmett. "Staging Quakerism in American Theatre and Film." Quaker Studies 14, no. 1 (September 2009): 57–71. http://dx.doi.org/10.3828/quaker.14.1.57.

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22

Williams, Sylvia. "Marguerite Duras' India Song - Texte Theatre Film." Australian Journal of French Studies 23, no. 1 (September 1986): 277–89. http://dx.doi.org/10.3828/ajfs.1986.20.

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23

Amorim, Lauro Maia. "Translation and adaptation in theatre and film." Translator 20, no. 2 (May 4, 2014): 243–46. http://dx.doi.org/10.1080/13556509.2014.961394.

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24

HAUPTFLEISCH, TEMPLE. "AFRICAN THEATRE AND FILM: AN INTERNATIONAL CONFERENCE." South African Theatre Journal 7, no. 2 (January 1993): 101–4. http://dx.doi.org/10.1080/10137548.1993.9688096.

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25

Iwaki, Kyoko. "Japanese Theatre after Fukushima: Okada Toshiki's Current Location." New Theatre Quarterly 31, no. 1 (January 30, 2015): 70–89. http://dx.doi.org/10.1017/s0266464x1500007x.

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Due to the lingering aftermath of a nuclear catastrophe being mostly out of sight, the peripheral victims of the Fukushima disaster were no longer able to discern the boundary between the here of the safety zone and the there of the afflicted area. What ensued after this geographical unification was psychological unity in which the harmony-conscious ethics of the Japanese were excessively fortified, formulating what is often called the code of wa (harmonious integration), which implicitly coerced all to speak from hisaisha no tachiba (the standpoint of the afflicted people). Kyoko Iwaki, a doctoral student at Goldsmiths, University of London, after fourteen years as a theatre journalist in Japan, provides in this article a socio-psychological analysis on how the code of wa materialized as the unwritten law after the catastrophe, and argues how in Current Location (Genzaichi), playwright-director Okada Toshiki grapples with this code by developing a post-Fukushima aesthetic. By pertinently using the apparatus of ‘fiction’ as a guise for relieving the audience of the code, Okada develops a theatre language that voices discord in content, yet accord in form, permitting the characters to speak both from the here and the there.

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26

Aslam, Shabina, and Eleanor Dare. "Skype, Code and Shouting: A Digitally Mediated Drama between Egypt and Scotland." Leonardo 48, no. 3 (June 2015): 284–85. http://dx.doi.org/10.1162/leon_a_01011.

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Springtime (Tron Theatre, Glasgow, 19 May 2012) was a computationally mediated theatrical performance involving Arab and Glaswegian-Arab actors and musicians. The project was produced by Ankur Theatre Productions, Scotland’s foremost black and ethnic minority theatre company. Springtime was directed by the dramaturge Shabina Aslam. Against the backdrop of the “Arab Spring” and its aftermath, the play explored issues of authenticity and identity as mediated through multiple technologies. This paper explores the impact and significance of the production and evaluates the use of Skype, social media and custom-made software in the writing, rehearsal and final performance stages of the play.

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27

Ari Febriantari, Putu, I. Made Budiana, and Ni Putu Luhur Wedayanti. "Alih Kode dalam Film Meitantei Katherine." Jurnal SAKURA : Sastra, Bahasa, Kebudayaan dan Pranata Jepang 3, no. 1 (February 27, 2021): 1. http://dx.doi.org/10.24843/js.2021.v03.i01.p01.

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This research titled is “Code Switching of Meitantei Katherine Movie”. This research aims to give information about types and causes of Code Switching in Meitantei Katherine movie. The data consists of two different languages, Japanese and English. The method of this reaserch is “padan intralingual” method and informal technique. The theories used are code witching by Romaine (1995), code switching by Wardhaugh (2006), cause code switching by Hoffman (1991) and semiotics by Danesi (2011). Based on the analysis, there are 21 code switching data consisting of one Tag Code Switching, five Intrasentential Code Switching, four Intersentential Code Switching, three Metaphorical Code Switching, and four Situational Code Switching.The Causes of code switching found on analysis are 1) talking about a particular topic; 2) being emphatic about something; 3) interjection; 4) repetition used for clarification; and 5) intention of clarifying the speech content for interlocutor.

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28

KORSBERG, HANNA. "Remains of a Past Production: A Short Film, Theatre (1957)." Theatre Research International 45, no. 3 (October 2020): 321–25. http://dx.doi.org/10.1017/s0307883320000322.

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This paper discusses the use of a documentary film as source material for theatre history. The central case study analyses Theatre, directed by Jack Witikka in 1957. This film presents the making of Samuel Beckett's Waiting for Godot at the Finnish National Theatre, which premiered on 5 October 1954. The paper follows the process of an event turning into an object, and at the same time I explore how the film preserves and traces material conditions of the theatre production: the physicality of the actors, their moving bodies, their position on the stage and the sound of their voices.

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29

Nunn, Robert. "Flickering Lights and Declaiming Bodies: Semiosis in Film and Theatre." Theatre Research in Canada 17, no. 2 (January 1996): 147–59. http://dx.doi.org/10.3138/tric.17.2.147.

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Of all the elements that mark the boundary between theatre and film, presence seems to be the most important. This essay seeks to set aside a sterile debate about whether presence renders theatre innately superior or inferior to film, and instead examines how presence in theatre and absence in film function as elements in the process of making meaning, arguing that it is presence which is the condition for theatrical semiosis, the material support for the kinds of meaning-making that constitute theatre, and, conversely, absence which is the condition for the specific kind of semiosis characteristic of film. After comparing how objects signify on stage and in film, the essay seeks to clarify the difference between acting on stage and in film by drawing on Eugenio Barba's distinction between daily and extra-daily behaviour.

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30

Armstrong, Eric. "This isNormal?: A Theatre Coach Works in Film." Voice and Speech Review 3, no. 1 (January 2003): 33–43. http://dx.doi.org/10.1080/23268263.2003.10739375.

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31

Winfield, Rebecca. "Programming Strategy and Censorship at Ipswich Film Theatre." Screen 27, no. 2 (March 1, 1986): 65–69. http://dx.doi.org/10.1093/screen/27.2.65.

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32

McAuley, Gay. "Exploring the paradoxes: On comparing film and theatre." Continuum 1, no. 2 (January 1988): 45–55. http://dx.doi.org/10.1080/10304318809359336.

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33

Adejunmobi, Moradewun. "FonTonFrom: Contemporary Ghanaian Literature, Theatre and Film (review)." Research in African Literatures 33, no. 4 (2002): 208. http://dx.doi.org/10.1353/ral.2002.0100.

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34

Märten, Annegret. "The casting handbook for film and theatre makers." Journal of Media Practice 16, no. 1 (January 2, 2015): 92–94. http://dx.doi.org/10.1080/14682753.2015.1015805.

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35

Weltman, Sharon Aronofsky. "Investigating Early Film and the Nineteenth-Century Theatre." Nineteenth Century Theatre and Film 42, no. 2 (November 2015): 119–23. http://dx.doi.org/10.1177/1748372716672220.

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36

Budd, Kristen M. "Film Review: Code of the West." Teaching Sociology 42, no. 2 (March 26, 2014): 172–73. http://dx.doi.org/10.1177/0092055x14521136.

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37

Melnishka, Mariana. "Who’s Not Afraid of Shakespeare." Sledva : Journal for University Culture, no. 40 (April 7, 2020): 62–67. http://dx.doi.org/10.33919/sledva.20.40.11.

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The ever growing and updating Shakespearian context is the topic of this article examining the almost simultaneous appearance (in Bulgaria, 2019) of a book, a film, and a theatre production related to the Bard: the book is “Nothing Like the Sun” by Anthony Burgess (translated by M. Melnishka), the film is Kenneth Branagh’s “All Is True”, and the theatre production is “Romeo and Juliet” at the Mladezhki Theatre (Youth Theatre) in Sofia.

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38

Fiebach, Joachim. "Cultural Identities, Interculturalism, and Theatre: On the Popular Yoruba Travelling Theatre." Theatre Research International 21, no. 1 (1996): 52–58. http://dx.doi.org/10.1017/s0307883300012700.

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Intercultural processes have become a major concern of European theatre people and critics since the 1970s. They serve to bolster the postmodern discourse marked by endlessly alterable and changing cultures and, therefore, by essentially elusive cultural identities. But the aggressive global expansion of audiovisually mediated performing culture, primarily American television, film, and video, is being viewed as a menace to received cultural identities. There are fears that European cultures are being submerged and disfigured by an ever increasing inundation of overpowering American cultural productions and may even disintegrate altogether.

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39

Sabol, Ján. "Theatrical Mise-En-Scene In Film Form." Slovenske divadlo /The Slovak Theatre 66, no. 3 (September 1, 2018): 288–95. http://dx.doi.org/10.2478/sd-2018-0017.

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Abstract The study reflects on divergence between theatre and film. It also points out that the difference ought to be sought in ontology, in the principle of the coding of actual reality by using film or theatrical language. In the perception of a syncretic work that connects the elements of both types of art, the viewer a priori perceives theatrical mimesis (and also the execution of theatrical mise-en-scène) as an “alien” element used by the film “language” of a concrete cinematographic work. The perception of such a work assumes the viewer’s readiness and willingness to accept a hybrid work, which inevitably calls for a different manner of decoding the narrative offered. If we are to summarise the hitherto knowledge which elucidates the relationship between theatre and film (in the manner in which actual reality is mimicked and in the subsequent execution of theatrical and film mise-en-scène), it may be concluded that, as opposed to film, theatre enjoys a unique opportunity to imitate actual reality by performing which takes place in real time and in direct interaction between the actor and the viewer. The film conveys this using filmmaking devices.

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40

Whitfield, Stephen J., and Brenda Murphy. "Congressional Theatre: Dramatizing McCarthyism on Stage, Film, and Television." Journal of American History 87, no. 4 (March 2001): 1570. http://dx.doi.org/10.2307/2674878.

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41

Jones, Matt. "Yana Meerzon. Performing Exile, Performing Self: Drama, Theatre, Film." Theatre Research in Canada 36, no. 2 (October 1, 2015): 336–37. http://dx.doi.org/10.3138/tric.36.2.336.

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42

Pauletto, Sandra. "Film and theatre-based approaches for sonic interaction design." Digital Creativity 25, no. 1 (April 28, 2013): 15–26. http://dx.doi.org/10.1080/14626268.2012.752754.

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43

Hopkins, D. J. "Hamlet’s Mirror Image: Theatre, Film, and The Shakespearean Imaginary." Journal of Dramatic Theory and Criticism 29, no. 1 (2014): 7–24. http://dx.doi.org/10.1353/dtc.2014.0021.

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44

Heaney, Bobby. "Cross-pollinating skills: directing for theatre, television and film." South African Theatre Journal 20, no. 1 (January 2006): 221–32. http://dx.doi.org/10.1080/10137548.2006.9687834.

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45

Võsu, Ester, and Alo Joosepson. "Staging national identities in contemporary Estonian theatre and film." Sign Systems Studies 33, no. 2 (December 31, 2005): 425–72. http://dx.doi.org/10.12697/sss.2005.33.2.09.

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This paper focuses on the ways in which national identities are staged in recent film and theatre productions in Estonia. We want to complement the prevalent approaches to nationality (Anderson 1983; Gellner 1983; Bhabha 1990), where the role of theatre and film as modellers of national identity are undervalued. National identity is a complex term that presupposes some clarification, which we gave by describing its dynamics today; its relation to ethnic identity, a thread between the lived and declared national identities, and the relevance of culture-based national identity. Herein we consider the concept of staging to have two implications: (1) as an aesthetic term it incorporates an artistic process, comprising several devices and levels; (2) as a concept in cultural theory it describes cultural processes in which something is set on stage for public reflection. Accordingly, in our analysis we considered national identities in theatre and film stagings in both senses. The results of our analyses demonstrated that our hypothesis about emerging new national identities in Estonia was valid, though deconstructed and hybrid national identities are not exactly and absolutely new types of identities but rather strategies of creating space for new identities to develop. A deconstructed national identity refers to the state of high self-reflexivity in which the existing elements of national identity are re-examined, recontextualised and re-evaluated. Further, a hybrid national identity demonstrates the diversity and coexistence of the components of national identity. Both strategies of staging are characteristic of the transformation of national identities, confirming that a single homogenous staging of national identity seems to be replaced by bringing multiple new self-models on stage.

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46

Oudin, Michel. "Direct Introduction of Time Code on Film." SMPTE Journal 98, no. 2 (February 1989): 123–27. http://dx.doi.org/10.5594/j02827.

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Taylor, Diana. "The Representation of Otherness in Chicano and Latin American Theatre and Film: Conference and Theatre Festival." Theatre Journal 43, no. 3 (October 1991): 377. http://dx.doi.org/10.2307/3207591.

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Melzer, Annabelle. "‘Best Betrayal’: the Documentation of performance on Video and Film, Part 1." New Theatre Quarterly 11, no. 42 (May 1995): 147–57. http://dx.doi.org/10.1017/s0266464x00001160.

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Abstract:

Whether described as adaptations, documentations, translations, or transcriptions, the video cassettes which allow us to see performances on video are proliferating. Not always easily available for begging, borrowing, or buying, not always willingly turned over by the theatre companies who hold them for in-house use, often lost or erased by television channels, and always beleaguered with copyright problems, these electronic arts ‘documents’ are none the less causing a revolution in teaching, rehearsal methods, and research. In what constitutes a first detailed mapping of the territory, Annabelle Melzer's two-part article deals with the theoretical and aesthetic questions surrounding performance documentation, with some of the hands-on issues of such filming – and with her own journey to seek out the documents themselves. Annabelle Melzer, Associate Professor of Theatre at the University of Tel Aviv, is completing ten years of research on the adaptation and documentation of theatre through moving image documents. Shakespeare on Screen, the first volume of her multi-volume filmography,Theatre on Screen, appeared in 1991, receiving theChoiceand American Library Association awards as outstanding reference book of 1991. Her articles on avant-garde performance have appeared inArtforum,Theatre Research International, andComparative Drama, and her Hazan Prize-winning bookDada and Surrealist Performancehas just been reissued by Johns Hopkins University Press. She is at present writing a book on the theatricality of war.

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SHIM, JUNG-SOON. "Recasting the National Motherhood: Transactions of Western Feminisms in Korean Theatre." Theatre Research International 29, no. 2 (July 2004): 143–54. http://dx.doi.org/10.1017/s030788330400029x.

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The image of the National Motherhood is the potent cultural code for Koreans. The word ‘Feminism’ in the Korean context is identified as a system of ideas originating from the West. What happens when these two disparate cultural/historical impulses meet at the intersection of modern Korean theatre? This study examines the cultural transfer of Western feminisms and feminist plays in the Korean theatre from the 1920s, when Ibsen's play A Doll's House was first introduced to Korea, to the present. More specifically, it analyses six Western feminist plays such as Nell Dunn's Steaming and Marsha Norman's 'Night, Mother, by focusing on how the Korean women's movement and modern Korean drama movement intersect with each other in terms of historical and cultural background; how these two historical impulses interact with Western feminist plays in terms of the intentions and reception of such plays in the Korean theatre arena, and how the image of the National Motherhood, the potent cultural code for Koreans, intervenes in this process.

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Prozhiko, Galina Semyonovna. "Theatre and Document: Opposition or Integration?" Journal of Flm Arts and Film Studies 6, no. 3 (September 15, 2014): 40–50. http://dx.doi.org/10.17816/vgik6340-50.

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It is hard to find more seemingly distant phenomena as the theatre with its obvious affectation and the document always referred to as a neutral indication of the reality. However, a closer comparison of the theatre and film document reveals unexpected similarities.

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